The traditional musics of China, Japan and Korea have been an important source of inspiration for many Western composers. Some, like Chou Wen-chung and John Cage, have moved beyond superficial borrowing of ‘Eastern’ musical elements in earnest attempts to understand non-Western principles of composition. At the same time, many Asian composers, often trained in the West or in Western music traditions, have been using Asian elements to create works of unique musical synthesis. As a result of such cultural interpenetrations, the landscape of Western art music has been irreversably altered.
Locating East Asia in Western Art Music is a comparative study of Asian-influenced Western composers and Western-influenced Asian composers, and the first sustained exploration of this cross cultural exchange. Bringing together work by music theorists, musicologists and ethnomusicologists, this book explores how musical notions of East and West are constructed and utilized by composers, and reevaluates the many ways East Asian composers have contributed to developments in twentieth century music. Composers discussed include John Cage, Toru Takemitsu, Chou Wen-chung, Toshiro Mayuzumi, Isang Yun, Tan Dun, John Zorn, and Henry Cowell.
CONTRIBUTORS: Hugh De Ferranti, Yayoi U. Everett, Judith Herd, Ellie Hisama, Eric Lai, Frederic Lau, Fredric Lieberman, Steven Nuss, Nancy Rao, and Yu Siuwah.
Tabella dei contenuti
Interultural Synthesis in Postwar Western Art Music: Historical Contexts, Perspectives, and Taxonomy – Yayoi Uno Everett
Fusion or Fission: The Paradox and Politics of Contemporary Chinese Avant-Garde Music – Frederick Lau
The Cultural Politics of Japan’s Modern Music: Nostalgia, Nationalism, and Identity in the Interwar Years – Judith Ann Herd
Two Practices Confused in One Composition: Tan Dun’s Symphony 1997: Heaven, Earth, Man – Yu Siu Wah
John Zorn and the Postmodern Condition – Ellie M. Hisama
Music from the Right: The Politics of Toshiro Mayuzumi’s Essay for String Orchestra – Steven Nuss
Henry Cowell and His Chinese Music Heritage: Theory of Sliding Tone and His Orchestral Work of 1953-1965 – Nancy Yunhwa Rao
The Evolution of Chou Wen-chung’s Variable Modes – Eric Lai
Musical Syncretism in Isang Yun’s Gasa – Jeongmee Kim
Contemporary Japanese Music: A Lecture by John Cage – Edited by Fredric Lieberman
Toru Takemitsu, on Sawari – Translated and Annotated by Hugh De Ferranti and Yayoi Uno Everett
Wenren and Culture – Chou Wen-Chung
Circa l’autore
FREDERICK LAU is Associate Professor of Music at the University of Hawai’i at Manoa.
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